AisleOne. A visual journal on design, photography, film, music and culture.
Edition 5 of the excellent Process Journal is now out and it sports a new design: a more flexible grid, updated captioning, new contents page and a brand new cover.
Edition Five contributors include: Christopher Doyle, Thomas Williams, Farrow, Aesop, Winkreative, Moving Brands, Holt Design, Gavillet & Rust, HORT, The International Office, L2M3, Xavier Encinas and Research & Development.
Process also has a new photo stream featuring some behind the scenes images of the publication being printed.
Paul Ibou is a Belgian graphic designer whose work includes 350 logos and symbols for corporations and public institutions, and in 1980 he started the publication Vorm in Vlaanderen. He has a great collection of work. My personal favorite is this calendar. I’m sucker for a tightly kerned sans-serif.
You can see more of his work on Iconofgraphics.com.
ABC Verlag (Edition) was a book publisher based in Zurich, Switzerland that released a superb collection of graphic design and fine art books between 1962-1989. I’ve been personally obsessed with these books and have been on a hunt for them for the last 4 years. They contain some of the best graphic design of the last century, and each book covers a different topic.
I recently uploaded photos to my Flickr of my three most recent additions to my collection:
History of the Poster – 1971 – Josef Müller-Brockmann
Design Concept Realisation – 1975 – Wolfgang Schmittel
Color Sells Your Package – 1969 – J.P. Favre
I can get lost in this stuff for days.
I love looking at logo specs like this one for the VW logo, which is one of my favorite marks. It gives you some insight into how the logo was created. Graham Smith took the time to recreate this sheet into a downloaded file.
Other personal favorites include the specs for the 1976 Montreal Olympics logo, and the Braun logo.
The new book Symbol by Angus Hyland of Pentagram looks like a gem.
The book features over 1300 symbols, organized into groups and sub-groups according to their visual characteristics. Each category includes a short introduction on who the symbol was designed for, the designer, and in some cases, what the symbol stands for. These sections are interspersed with short case studies on both classic and more recently designed symbols.
I agree with Shelby, I’d pay good money to get my hands on these Ducats milk cartons designed by Heinz Grunwald in the 80s. They’re beautiful and functional. These are also a reminder of how bad design can get nowadays. It’s our responsibility as designers to push graphic design back to this type of thinking. Simple, smart, beautiful.